carolyn christovbakargiev

325 posts

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carolyn christovbakargiev

carolyn christovbakargiev

@CCB_Castello

Retired museum director, Exhibition maker. Art. This wonderful wholeness of us. @carolynchristovbakargiev

Torino, Piemonte Katılım Mayıs 2017
447 Takip Edilen1.6K Takipçiler
carolyn christovbakargiev
carolyn christovbakargiev@CCB_Castello·
And so, in Italy, we have lost Giancarlo Politi, founder of Flash Art in 1967. A whole generation is going, piece by piece. Giancarlo believed in young new writers, so in 1987 he published my article on Arte Povera which changed the course of my life. Thank you, Giancarlo.
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carolyn christovbakargiev
carolyn christovbakargiev@CCB_Castello·
@TheChiefNerd Maybe SA needs a class in Philosophy. What he calls "training humans" i call "living life" , including reading and writing books - pure bliss.
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Chief Nerd
Chief Nerd@TheChiefNerd·
🚨 SAM ALTMAN: “People talk about how much energy it takes to train an AI model … But it also takes a lot of energy to train a human. It takes like 20 years of life and all of the food you eat during that time before you get smart.”
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carolyn christovbakargiev
carolyn christovbakargiev@CCB_Castello·
Marianum, vicesimo saeculo eras, in mundo tuo natus sum, et transitus tuus est ultimus saeculi nostri transitus. Non intellego mundum sine visione tua. Vale, amice carissime, intellectus carissime. Nam MG
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carolyn christovbakargiev
carolyn christovbakargiev@CCB_Castello·
@CozomoMedici Know all the history of how things happen. As for Kosuth, Nauman and other US artists, some were appreciated culturally in trad art places outside before being so in the USA. Remember Castello di Rivoli, Turin, then M+ China, then etc. Nemo profeta in patria. It is normal.
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carolyn christovbakargiev
carolyn christovbakargiev@CCB_Castello·
.. yet another wonderful person has just passed. I salute you, and thank you, Ceal Floyer, too great for our petty world. You just kept going on, till you got it right. Ave caelum gratia plena.
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carolyn christovbakargiev
carolyn christovbakargiev@CCB_Castello·
@beeple Another quarter of what I think: the work is very US American in its use of irony - a tool to level cultural and intellectual disparity with most more ancient and layered civilizations (Europe, China, India..) that have a way of surviving, like the bog people in Denmark.
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beeple
beeple@beeple·
Actually my inspiration for the piece was all that stuff Carolyn said as well as this song.
beeple tweet media
Eli Scheinman@eli_schein

Carolyn Christov Bakargiev on Regular Animals: What begins with Berger’s claim in “Why Look at Animals?” (1977) — that modernity breaks the reciprocal gaze between humans and animals — reaches its endpoint in Beeple’s robot dogs (2025). Berger mourns the disappearance of animals as living others who once looked back at us. Beeple shows what comes after that loss: animals re-enter as machines that see without relation. The dog becomes an interface for surveillance and image extraction. Its gaze is no longer mutual; it is operational. The robot dogs photograph the public, already surveilled, and return altered images filtered through the logic of artists, platforms, dictators, and tech billionaires. Authority replaces encounter. Anthropomorphism (human heads on machines) softens this violence by inviting misplaced empathy, while real agency remains hidden in a back office. Unlike Warhol’s icons, damaged by visibility, or Gormley’s Angel of the North in Gateshead (1998), which insists on a grounded, non-machinic survival of the subject, Beeple’s figures neither suffer nor resist history. They administer it. As fallen angels in plural hierarchies, they execute the storm of progress rather than being carried or broken by it. Seen through Berger, Beeple’s robot dogs do not represent animals. They represent the final extinction of the animal’s gaze, which is replaced by machines that look, record, and return images without vulnerability, reciprocity, or response-ability. Warhol’s icons (Marilyn, Elvis) are fallen angels of desire. They are lifted by mass media only to be worn down by repetition. Visibility harms them. Warhol stays with their fragility: the image wounds the subject even as it immortalizes it. His angels fall because of circulation. Gormley, by contrast, proposes a non-machinic persistence of the subject. The Angel of the North stands, immobile, iron-heavy, resisting both Walter Benjamin’s idea of the storm of progress (1944) and the dispersal of the body into networks. Unlike Paul Klee’s Angelus Novus (1920), blown backward, powerless before history, Beeple’s dogs are fallen angels of administration. Plural, remotely controlled, they mediate vision in angelic hierarchies.

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Eli Scheinman
Eli Scheinman@eli_schein·
Carolyn Christov Bakargiev on Regular Animals: What begins with Berger’s claim in “Why Look at Animals?” (1977) — that modernity breaks the reciprocal gaze between humans and animals — reaches its endpoint in Beeple’s robot dogs (2025). Berger mourns the disappearance of animals as living others who once looked back at us. Beeple shows what comes after that loss: animals re-enter as machines that see without relation. The dog becomes an interface for surveillance and image extraction. Its gaze is no longer mutual; it is operational. The robot dogs photograph the public, already surveilled, and return altered images filtered through the logic of artists, platforms, dictators, and tech billionaires. Authority replaces encounter. Anthropomorphism (human heads on machines) softens this violence by inviting misplaced empathy, while real agency remains hidden in a back office. Unlike Warhol’s icons, damaged by visibility, or Gormley’s Angel of the North in Gateshead (1998), which insists on a grounded, non-machinic survival of the subject, Beeple’s figures neither suffer nor resist history. They administer it. As fallen angels in plural hierarchies, they execute the storm of progress rather than being carried or broken by it. Seen through Berger, Beeple’s robot dogs do not represent animals. They represent the final extinction of the animal’s gaze, which is replaced by machines that look, record, and return images without vulnerability, reciprocity, or response-ability. Warhol’s icons (Marilyn, Elvis) are fallen angels of desire. They are lifted by mass media only to be worn down by repetition. Visibility harms them. Warhol stays with their fragility: the image wounds the subject even as it immortalizes it. His angels fall because of circulation. Gormley, by contrast, proposes a non-machinic persistence of the subject. The Angel of the North stands, immobile, iron-heavy, resisting both Walter Benjamin’s idea of the storm of progress (1944) and the dispersal of the body into networks. Unlike Paul Klee’s Angelus Novus (1920), blown backward, powerless before history, Beeple’s dogs are fallen angels of administration. Plural, remotely controlled, they mediate vision in angelic hierarchies.
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Refik Anadol
Refik Anadol@refikanadol·
Dear friends, big news from Art Basel Miami — our last unique edition of Winds of Yawanawa sold for more than $1 million to benefit directly 2.5 million acres of land protection and 19 Indigenous tribes of Amazon Rainforest!
Refik Anadol tweet media
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Cozomo de’ Medici
Cozomo de’ Medici@CozomoMedici·
Few works have sparked wonder like REGULAR ANIMALS by @beeple. These autonomous sculptures challenge all we think about perception, culture & influence. 2 from Art Basel's most talked about installation have joined The Medici Collection. Please welcome PICASSO and ANDY_WARHOL
Cozomo de’ Medici tweet media
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carolyn christovbakargiev
carolyn christovbakargiev@CCB_Castello·
I am very very sad at the news of Koyo Kouoh' s passing. She was a wonderful and decicated person who believed in joy. A wonderful help for dOCUMENTA (13) and very intelligent. It is a sad day today for the art world.
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carolyn christovbakargiev
carolyn christovbakargiev@CCB_Castello·
*In Illo uno, unum* - 'In The 1, there is 1.' Mathematics, theology, ethics. Leo Magnus was Pope from 440 to 461 - in times of great change, what did he say to Attila? 'For a disarmed peace and a disarming peace' - *Saluto te Papam Leonem XIV*
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carolyn christovbakargiev
carolyn christovbakargiev@CCB_Castello·
Zoran Music painted the essence of being human, barely alive, between earth and earth again, briefly, just able to breathe. It is the essence of painting, too. He drew in Dachau in 1945, and painted in 1970-71. He called it "We are not the last". Let us change the dataset.
carolyn christovbakargiev tweet media
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Cozomo de’ Medici
Cozomo de’ Medici@CozomoMedici·
On May 2, this sculpture may sell for 70m usd. But it isn’t unique. Most of the world’s most expensive artworks are paintings. But occasionally, you see a sculpture break through. And unlike paintings, sculptures are often made in small editions. In this case, there are 6 casts of this sculpture. But it’s still expected to fetch ~70m, because it has “end of line” Every time an artwork trades hands, its provenance or “line” grows. When it enters a permanent collection, that line effectively ends. The piece is no longer circulating and the *supply* of the work goes down. So what happens when all but one edition of a sculpture are in museums/foundations? You’re left with an artificial 1/1. That’s partly why, in 2015, Steve Cohen paid 141m USD for Man Pointing - ed. of 6+AP - bc it was the only version left on the open market. Jeff Koons’ Rabbit sold for 91m USD, and that’s an Ed. of 3 The others are in museums like The Broad and MCA Chicago, making the last one in private hands effectively a “1/1” You may see this in crypto too. XCOPY’s Last Selfie is an edition of 10. But over time, some may land in museums, creating new end of lines—and leaving just a few in private hands. Personally, I'm a big fan of A+ art as editions. They’re widely seen. They form elite collector clubs. And as more enter institutions, the remaining ones become rarer—and more valuable. So while a work might not start out unique… over time, it can become unique. That’s the quiet power of end of line. And we may see it in action on May 2. ~CdM
Sotheby's@Sothebys

Alberto Giacometti’s ‘Grande tête mince’ is one of the defining achievements of modern sculpture. Inspired by his brother Diego, this hand-painted bronze could exceed $70M at auction. On view at #SothebysNewYork 2 May. bit.ly/3EswaBF In partnership with @celineofficial.

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Fascinating
Fascinating@fasc1nate·
A whole vehicle broken into pieces.
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carolyn christovbakargiev
carolyn christovbakargiev@CCB_Castello·
@elonmusk Buying votes is not democracy. It is unethical. People must form their opinions freely. You fire people and you buy people. Sad. Marcus Aurelius would not admire you as a leader.
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carolyn christovbakargiev
carolyn christovbakargiev@CCB_Castello·
@elonmusk That would be dictatorship. The judiciary is separate from the executive and abides by the constitution. The people cannot "will" anticonstitutional things. Democracy is not an elected populist dictatorship. Thousands of Americans fought against that over the centuries.
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carolyn christovbakargiev
carolyn christovbakargiev@CCB_Castello·
@sikorskiradek Attacks on manlihood? Perhaps Musk is the 'small man' if he accuses another, and needs more and more women to get excited. Perhaps autism/trauma causes his lack of empathy/omnipotence delirium? Empathy is at the root of humanity, democracy, all religions. It is universal.
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Radosław Sikorski 🇵🇱🇪🇺
Starlinks for Ukraine are paid for by the Polish Digitization Ministry at the cost of about $50 million per year. The ethics of threatening the victim of aggression apart, if SpaceX proves to be an unreliable provider we will be forced to look for other suppliers.
Elon Musk@elonmusk

I literally challenged Putin to one on one physical combat over Ukraine and my Starlink system is the backbone of the Ukrainian army. Their entire front line would collapse if I turned it off. What I am sickened by is years of slaughter in a stalemate that Ukraine will inevitably lose. Anyone who really cares, really thinks and really understands wants the meat grinder to stop. PEACE NOW!!

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